SHIRINE GILL . photographer
I do not have a singular visual language. My work is very intuitive. I drift from abstraction to realistic photography to collage with paper cutouts. My abstract work intrigues me the most. I like the experimental aspect of playing with a variety of materials (light, fabric, paper and glass) to create compositions that blur the boundaries of photography, drawing and painting. My goal is to create images that have not existed before. The majority of my abstract work is about form, color and line, most of which are independent from visual references to the outside world.
Creating retinal excitement concerns me more than meaning. My images both allow for, as well as resist, definition. I revel in distorting reality beyond recognition. I welcome accidents; chance is an important part of my work. I cannot predict particular outcomes until the experiment is finished.
I do not like to work in any specific work-space. A studio creates anxiety in me. I am a nomadic artist. Working digitally enables me to work anywhere. My environment and the evolving available materials, inform my work. Discovering new materials is an exciting part of the work’s unfolding.
My process is Intentional Camera Movement. This process requires long shutter speed. Movement and an open shutter allow me to create painterly and impressionistic images. Camera movement makes colors bleed into each other, and create dynamic lines and patterns from rather simple light sources.
Digital photography has facilitated my experimentation and allowed me access to new photographic terrain. Its immediacy can be doubly overwhelming though. The ease of production creates hundreds of similar images. The taxing nature of editing can be extremely laborious, but this too, is part of the artistic process in identifying the most compelling imagery. One has to become a brutal editor to avoid the pitfalls of repetitious images.
- 2013 Louisiana Art & Science Museum, "The Edge of Vision," Baton Rouge, LA
- 2012 Clay Center for the Arts and Sciences, "The Edge of Vision," Charleston, WV
- 2012 Schneider Museum of Art, "The Edge of Vision," Ashland, OR
- 2011 Summer Picks, Third Streaming , New York, NY
- 2011 The Cornell Fine Arts Museum at Rollins College, “The Edge of Vision,” Winter Park, FL
- 2010 Center for Creative Photography at the University of Tucson, “The Edge of Vision,” Tucson, AZ
- 2010 AR/Contemporary Art, “Ephemeral Textures,” Milan
- 2009 Pingyao International Photography Festival, Pingyao, China
- 2009 Aperture Foundation, “The Edge of Vision,” New York
- 2009 Lee Webber Fine Art, Solo Show, Greenwich, CT
- 2009 Lee Webber Fine Art, Solo Show, Scarsdale, NY
- 2008 LTMH Gallery, “East West Dialogues,” New York
- 2008 LTMH Gallery, “Inaugural Show,” New York
- 2007 Bridge Art Fair, Miami
- 2007 07 Arts Project, Contemporary Art Fair, London
- 2007 LTMH Gallery, “Flowers,” New York
- 2007 LTMH Gallery, “Poetic Visions,” New York
- 2006 LTMH Gallery, “Black and White,” New York
- 2006 LTMH Gallery, “Contemporary Persian Themes,” New York
- 2005 LTMH Gallery, “Gallery Artists,“ New York
- 2005 Throckmorton Gallery, New York
- 2004 Carrington Gallery, San Antonio, TX
- 2003 Kim Eckenroth Gallery, Boulder, CO
- 2003 Kennedy Boesky Gallery, New York
- 2002 Sarah Northland Gallery, New York
- Rexer, Lyle. The Antiquarian Avant Garde. Abrams, New York, NY
- Rexer Lyle. The Edge of Vision: Abstraction in Contemporary Photography. Aperture, New York, NY